Jerome Wrote:I'm not going to get into an argument about this but here's my take on your comments and the first piece you posted. (Take me higher). I found it boring beyond belief. Music has to breathe and this just simply does not for me. I listen to all forms of music (world/ethnic/classical/ambient/electronica as well as the old standards) so if you think I am locked into a particular frame of mind you are wrong. As for HOW I listen to it - with my ears & my mind. And I am not bitching - I am telling the forum my point of view. Take it or leave it. You don't have to be charitable with me. And as for your first comment - I am agnostic.
Take me higher (could they not have come up with more lyrics?) is a repetitive stale kick, snare and hi-hat accompanied by a repetitive vocal (copied and pasted relentlessly) phrase underpinned by a repetitive bass line - all of which are tweaked by a phaser from time to time to give the illusion of movement but without ever really moving anywhere or reaching a peak or resolving into a meaningful structure. And the effect of filters on the cells are just artifacts from badly manipulated reverb. As I said before copy and paste music. It will be gone soon.
Funny that because the song still pops up from time to time in mixes on the radio, despite being from 1996. I heard it constantly that year. I hear it from time to time in mixes on the radio. In case you hadn't quite figured it out this song is an instrumental. I guess you were fooled that it has words in the vocal hook, but the two vocal hooks are samples. This was actually put out at least three times with three different project names (DJ Lace, Modifiers, & Hardy Heller) but it's the same track on all three. This is common with dance tracks.
Since you obviously didn't listen all the way through, here's the structure (for anyone else who wants to hear it)
0-1:58 = mix in, vocal hook brightens and darkens, very effective mixing with an outro.
1:58 - main groove, vocal hook continues to brighten and darken
3:58 - break (kick snare hat drop out), vocal darkens, bass brightens to double as an acidy sawtooth 2 octaves higher
4:56 - "second verse" vocal hook suddenly brightens and sawtooth rises higher and higher.
6:24 - 2nd break, sawtooth suddenly dips and rises, increasingly tenser until it builds to a climax.
7:23 - release, introduction of new vocal hook
8:21 - 3rd break (kick snare hat drop out), increasingly tenser, same in percussion as 2nd break.
9:22 - final climax
9:51 - wind-down, return to first vocal hook, mixout.
In short, my playtime lasts several hours. This is musical edging as far as I'm concerned. When it was on top and mixed everywhere the joke was that it needed to be about 15 minutes longer so that everyone would get to climax.
And it is an absolutely beautiful track, one of my favourites of all time. Lace nailed it. Whoever his partner is must be glowing all the time.
Yet Jerome, I'm not trying to convert you. May I recommend instead Hawkwind "You Shouldn't Do That", King Crimson "Discipline", Robert Fripp's entire "God Save The King / Under Heavy Manners" album, Miles Davis "Directions", "Spanish Key", "Great Expectations", "Ife", "Pharoah Dance", Philip Glass's entire oeuvre, Mike Oldfield "Hergest Ridge" or Soft Machine "We Did It Again" as things that I would guess you might know and love, despite those all being variations on a structure such as this.